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These were the two questions that researchers Teresa Cremin and Kerry Chappell set out to answer in their recent research - Creative Pedagogies: a systematic review.

The researchers identified seven different kinds of pedagogies which focus on teaching for creativity.

1. Generating and exploring ideas. A focus on the generation and exploration of ideas is a key characteristic. This can be encouraged by creating a climate of openness with teachers accepting young people's ideas and giving them opportunities to explore ideas in a stimulating environment.

2. Encouraging autonomy and agency. Teaching that appeals to students' interests and offers them opportunities to initiate activities is important.

3. Playfulness. Purposeful play would seem to be a key element of creativity.

4. Problem-solving. Creativity involves coming up with novel or different ideas and a good way of engaging students is the use of real-world problems.

5. Risk-taking. Learning by making mistakes and taking risks is central to the creative process. Such experimentation helps to build resilience.

6. Co-constructing and collaborating. Being creative typically involves working with others, students and students and students with teachers.

7. Teacher creativity. Teachers are powerful role models; when they demonstrate their own interests in creative processes this can be helpful.

Creative pedagogies in the classroom

We asked Teresa Cremin and Kerry Chappell to explain how their theory works in practice:

Despite the challenges of working in a prescribed and assessment driven culture, the seven core characteristics of creative practice are possible to integrate into classroom practice from the early years right through to the end of formal schooling.

The ways teachers choose to develop these will depend upon the age phase they teach, the subject focus and their current practice and assurance as creative practitioners.

Over time, if a higher profile is given to creative pedagogies and school communities can support each other to nurture them, this is likely to result in the subtle re-shaping of the curriculum, which will become more- co-owned, shaped and co-constructed by the learners and their creative teachers.

Generating and exploring ideas

The characteristic most frequently evidenced in the review was generating and exploring ideas. Perhaps this is not surprising as making and investigating ideas is often associated with an ethos of openness in which strong teacher-student relationships exist alongside a balance of freedom and structure. Teachers can seek to build such relationships through engaging authentically in the classroom as learners, offering their own personal take on the subject matter and being open about their hesitancies, misunderstandings and mistakes.

Co-constructing and collaborating

The second most frequent characteristic of creative pedagogies was co-constructing and collaborating. Teachers can begin to shift from setting and assessing predominantly individual work to offering increased opportunities for group work and creative collaboration. They can also afford more time and space for learners to engage playfully with one another and the available resources such that they can come to solve problems and generate their own. This will enable the young people to develop their agency and autonomy as they shape new and possible solutions and may be linked to real world concerns. Teachers who set such open-ended tasks to groups and offer strong support in secure environments of respect and inclusion, will be enabling students to experiment, explore and take risks, another characteristic of creative pedagogies.

Valuing a creative teaching practice

Creative teachers not only recognise, value and exercise their own creativity, but also seek to promote creativity in others, including their peers. They draw on their own passions and creativity as they develop their practice, pioneering new ways forwards in lessons, investing time in discussion with other teachers and sharing their pleasure in creative processes with the young people. The interplay between teachers and children participating in playful learning contexts and exploring possibilities together has considerable potential.

It is clear these characteristics do not operate in isolation, they interact with and on each other and are perhaps best planned for in a coherent manner, such that the children's autonomy is fostered through a playful, collaborative, open and creative approach to teaching and learning.

Teresa Cremin and Kerry Chappell suggest that more research is needed into just how these pedagogies impact on pupils, something which the new Creativity Collaboratives will hope to provide. Meanwhile you can start your own exploration by trying this idea.
Teresa Cremin is Professor of Education at The Open University. Kerry Chappell is Associate Professor in the Graduate School of Education at Exeter.
The paper is available to request for free here: http://oro.open.ac.uk/66250/

Takeaway idea

Choose one of the seven pedagogies you are familiar with.

Brainstorm all of the techniques you could use to make yourself even more effective as a teacher when using this pedagogy. Then share your suggestions with another colleague.

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The powerful impact of creativity in the classroom

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These were the two questions that researchers Teresa Cremin and Kerry Chappell set out to answer in their recent research - Creative Pedagogies: a systematic review. The researchers identified seven different kinds of pedagogies which focus on teaching for creativity. Generating and exploring ideas.

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4. The Fitzwilliam Virginal Book

The Fitzwilliam Virginal Book

Description of this object or artwork

According to Suzanne Reynolds, Assistant Keeper in the Department of Manuscripts and Printed Books, this was once known as Queen Elizabeth I's Virginal Book. This volume is one of the most important treasures in the music collection bequeathed by Viscount Fitzwilliam (1745-1816), and is the richest anthology of sixteeth- and early seventeenth century English Keyboard music in existence. The Fitzwilliam Virginal contains nearly three hundred works dating between 1562 and 1612. It represents thirty of the greatest composers of the time, including John Bull, Orlando Gibbons, and Wiliam Byrd. It was copied out by hand onto beautiful handmade paper, and the manuscript is still in its original binding of leather with gold decoration.

Collections database information

Collection of 297 pieces for keyboard.The first 95 are numbered in the original manuscript; nos. 96-297 are those given in the edition by J.A. Fuller Maitland and W. Barclay Squire (Breitkopf & Hartel, 1899 ; reprinted by Dover Publications, 1963; revised, 1980). Other sequences of numbers apply to the pieces by Giles Farnaby, Peter Philips, Sweelinck & Tomkins. Editorial title. Editions: see revised Dover edition, 2 vols, 1980, and various volumes of the Musica Britannica series. Harpsichord music. Possibly in the hand of Francis Tregian the Younger.

Provenance: Founder's bequst 1816. Inscribed: 'Fitzwilliam 1783'. 'Queen Elizabeth's Harp Book Purchased at the sale of Doctor Pepusch's Collection, B R Bremner 1762 [actually 1752] for 10 guineas' - note inside front cover. 'Given by Mr Bremner to Lord Fitzwilliam' - note inside front cover. Johann Christopher Pepusch 1667-1752, former owner. Robert Bremner -1789, former owner.

Acquisition and important dates

Method of acquisition: Bequeathed

Dates: 1816

Dating

Production date: AD 1617 : England, [before 1617]

Maker(s)

Measurements and weight

At the moment, our system does not display units or type of measurements below. We will rectify this as soon as possible.

Associated department: Manuscripts and Printed Books

Identification numbers

Accession number: MU.MS.168

Priref: 249110

ALMA: 0995455123803606$822399852420003606

Former classmark: 32.G.29.

Stable URI

Audit data

Created: 15-09-2020

Updated: 16-09-2020

Last processed: 22-12-2020

Data source: adlib

Associated institutions

Look at the work

Look carefully at this piece of music which can be played on a keyboard instrument called a virginal.

The patterns, shapes and marks make a musical score.

Think about this work

Can you follow the notes up and down?

Where are the fast notes? And the slow notes?

Imagine how the music might sound.

Do something in response

You can watch someone playing a virginal and listen to music from this book in this video.

Can you make up a dance to this music? Perhaps you could clap or stamp along with the beat?

Or try some of these ideas to make your own musical instrument?

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Tel: +44 (0)1223 332900
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Look, think, do: The Fitzwilliam Virginal Book

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Museums and galleries in Cambridge will be closed to the public as part of a period of national/local restrictions. Home Learning Look Think Do The Fitzwilliam Virginal Book Description of this object or artwork According to Suzanne Reynolds, Assistant Keeper in the Department of Manuscripts and Printed Books, this was once known as Queen Elizabeth I's Virginal Book.

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A page documenting the galleries of the Fitzwilliam Museum

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Discover artworks, explore venues and meet artists. Art UK is the online home for every public collection in the UK. Featuring 250,000 artworks by over 45,000 artists.

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Looking for fun learning activities to try at home? From wildlife wanders to stories inspired by paintings, take your pick from a growing selection inspired by the University collections.

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Looking for fun learning activities to try at home? From wildlife wanders to stories inspired by paintings, take your pick from a growing selection inspired by the University collections.

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Museums and galleries in Cambridge will be closed to the public as part of a period of national/local restrictions.

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Look, Think, Do activities

These activities have been designed as a starting point for looking, talking and doing together. We will be adding new entries throughout April and May 2020.

The Look and Think activities should take 5 -10 minutes.

The Do activities might take longer depending on the task and how creative you are feeling!

Answers and suggestions about how to find out more at the bottom of each page.

Have fun and don't forget to share your creations using #FitzVirtual #LookThinkDo.

Notes for parents and teachers

Updates about future exhibitions and displays, family activities, virtual events & news. You'll be the first to know...

Contact us

The Fitzwilliam Museum,
Trumpington Street,
Cambridge
CB2 1RB
Tel: +44 (0)1223 332900
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License

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Museums and galleries in Cambridge will be closed to the public as part of a period of national/local restrictions. Home Learning Look Think Do These activities have been designed as a starting point for looking, talking and doing together. We will be adding new entries throughout April and May 2020.

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Titles

Lt-Col. Thomas Richmond-Gale-Braddyll (1776-1862); his sale, Christie's, 23 May 1846 (44), bt. Bishop; W.J. Isbell, of Stonehouse; T. Pooly Smyth, of Plymouth, by 1857; Pooly Smyth sale, Christie's, 13 June 1859 (213), bt. in; Rev. W.C. Randoph; Lionel, 2nd Lord Rothschild (d. 1937), Tring Park, by 1899; his nephew, Nathaniel, 3rd Lord Rothschild; given by him to the Lord Baldwin Fund for Refugees, sale at Christie's, 25 May 1939 (256), bt Gooden & Fox; bt. from Gooden & Fox, London, by E.E. Cook, 1939, who bequeathed his collection to the National Art Collections Fund, 1955

Named entities

Legal notes

From the Ernest Edward Cook collection.

Acquisition and important dates

Method of acquisition: Given

Dates: 1955

Dating

Maker(s)

Measurements and weight

At the moment, this record does not display units or type of measurements. We will rectify this as soon as possible.

Agents depicted

Subjects depicted

Materials used in production

Components of the work

Support composed of canvas

Frame measuring: 11 by 173.5 by 265.3

Canvas measuring: 147.3 by 238.1

Techniques used in production

Inscription or legends present

Text: R.A., Old Masters, 1890, lent Rev. D.C. Randolph, Orford, Wickham Market (Yale House)

Location: Verso

Type: Label

Text: Art Treasures, 1857, (endorsed in ink) Smyth N 1 (this was Manchester)

Location: Verso

Method of creation: Printed with ink addition

Type: Label

Inscription present: exerpt from a sale catalogue

Text: Christie's, 25 May 1939, Lord Baldwin's Fund for refugees, presented by Lord Rothschild, no lot number. As from Braddyll coll., 1846; Manchester, 1857, no. 52; coll. T.P. Smyth; R.A., 1890, no. 124; coll. Rev. C.W. Randolph; G. and C., p. 111; Armstrong, p. 196

Location: Verso

Type: Supporting information

Associated department: Paintings, Drawings and Prints

References and bibliographic entries

Identification numbers

Audit data

Created: Saturday 6 August 2011

Updated: Monday 3 August 2020

Last processed: Tuesday 22 December 2020

Data source: Adlib

Associated institutions

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Titles Lt-Col. Thomas Richmond-Gale-Braddyll (1776-1862); his sale, Christie's, 23 May 1846 (44), bt. Bishop; W.J. Isbell, of Stonehouse; T. Pooly Smyth, of Plymouth, by 1857; Pooly Smyth sale, Christie's, 13 June 1859 (213), bt. in; Rev. W.C. Randoph; Lionel, 2nd Lord Rothschild (d.

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4. PD.6-1984

Object information

Titles

Elizabeth Vernon, Countess of Southampton

Sotheby's, sale 16th November, 1983 (lot 21*), bt. through Hugh Leggatt

Named entities

Legal notes

From the Perceval Fund with contributions from the National Art Collections Fund and the Victoria and Albert Museum Grant-in-Aid.

Acquisition and important dates

Method of acquisition: Bought

Dates: 1984

Dating

Production date: circa CE 1603

Maker(s)

Agents depicted

Subjects depicted

Materials used in production

Components of the work

Support composed of canvas

Canvas measuring: 109 by 188

Frame measuring: 131.5 by 20 by 222 by 5.3

Techniques used in production

Associated department: Paintings, Drawings and Prints

References and bibliographic entries

Identification numbers

Audit data

Created: Saturday 6 August 2011

Updated: Monday 3 August 2020

Last processed: Tuesday 16 February 2021

Data source: Adlib

Associated institutions

How to cite this record

This record can be cited in the Harvard Bibliographic style using the text below:

The Fitzwilliam Museum (2020) "Painting" Web page available at: https://collection.beta.fitz.ms/id/object/3148 Accessed: 2021-02-17 11:53:49

To cite this record on Wikipedia you can use this code snippet:

{{cite web|url=https://collection.beta.fitz.ms/id/object/3148|title=Painting|author=The Fitzwilliam Museum|accessdate=2021-02-17 11:53:49|publisher=The University of Cambridge}}

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Home Objects and Artworks Object PD.6-1984 Titles Elizabeth Vernon, Countess of Southampton Sotheby's, sale 16th November, 1983 (lot 21*), bt. through Hugh Leggatt Named entities Legal notes From the Perceval Fund with contributions from the National Art Collections Fund and the Victoria and Albert Museum Grant-in-Aid.

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Museums and galleries in Cambridge will be closed to the public as part of a period of national/local restrictions.

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4. Ramesses Iii

Rameses III

Description of this object or artwork

According to Helen Strudwick Associate Curator (Ancient Egypt), this granite sarcophagus lid was found in the tomb of Ramesses III in the Valley of the Kings, which is fairly close to the tomb of Tutankhamun. It is not clear when the object was damaged, but it may have been caused by tomb robbers trying to reach the king's treasure. The Pharoah's mummified body would have lain inside several other wooden and gold coffins within this sarcophagus.

Recent excavations in the burial chamber of this tomb have uncovered several more fragments of granite. Their shape suggests they belong to this sarcophagus lid, but they do not fit. This makes us think that Ramesses III may have had a second granite sarcophagus. This is possible because one of his predecessors, King Merenptah, who was also buried in the Valley of the Kings, had at least three granite sarcophagi. This raises the fascinating question of whether all the coffins and sarcophagi were fitted together before they were put into the burial chamber, which would have been a monumental undertaking. Or they might have been assembled inside the burial chamber, which would also have been extremely difficult. What do you think?

You can find out more about Ramesses III Sarcophagus Lid in our Fact Sheet.

Collections database information

Red granite sarcophagus lid of Ramesses III in the shape of a cartouche. In the centre of the lid is the king depicted as the god Osiris in mummy form. On his head he wears the Atef crown composed of ostrich feathers, a sun disk and a pair of ram's horns. Emerging from his forehead is a uraeus, the royal symbol of protection. The king also wears a long plaited beard, another divine symbol associated with the god Osiris, and a long wig with lappets. The king's arms are crossed over his chest and in his hands he holds the crook and flail. On either side are the standing figures of the goddesses Isis (Proper Left - PL) and Nephthys (Proper Right - PR). Much of Isis's figure is missing owing to a large break in the lid which extends from the back part of her head to the base (the break was probably caused by tomb robbers in antiquity). Nephthys stands on the hieroglyphic sign for gold 'nbw'. In between the depiction of Ramesses III and Isis and Nephthys are probably four snakes, two of which have female bodies and heads. These snake-women, who probably represent the goddesses Nekhbet and Wadjet, raise their hands in adoration of the dead king. Hieroglyphic text is inscribed around the lid's outer edge.

Sarcophagus lid of Ramesses III

July 1816 - Bernardino Drovetti meets Giovanni Belzoni and gives him the granite sarcophagus lid 12 August 1816 - Belzoni attempts to remove it March or April 1817 - Belzoni successfully removes it c. November 1817 - finds are shipped to Cairo 20 April 1818 - Henry Salt concedes a sarcophagus lid from the Valley of the Kings to Belzoni 27 January 1819 - Another shipment of finds from Luxor to Cairo and then Rosetta, including a sarcophagus lid May 1821 - shipped from Alexandria on the 'Dispatch' (Seti I's alabaster coffin also on this ship) August 1821 - 'Dispatch' arrived in London Autumn 1821 - all objects moved into the courtyard of the British Museum March 1823 - Ramesses III's sarcophagus lid sent to Cambridge 31 March 1823 - lid arrives in Cambridge The link between Giovanni Belzoni and Cambridge is most probably The Reverend George Adam Browne who was associated with Trinity College. He was also a Freemason, like Belzoni.

Acquisition and important dates

Method of acquisition: Given

Dates: 1823

Dating

Maker(s)

Place(s) associated

Measurements and weight

At the moment, our system does not display units or type of measurements below. We will rectify this as soon as possible.

Materials used in production

Associated department: Antiquities

Identification numbers

Accession number: E.1.1823

Priref: 49037

Oldadmincategory: SS

Stable URI

Audit data

Created: 06-08-2011

Updated: 18-02-2021

Last processed: 19-02-2021

Data source: adlib

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Look at the work

Do you think this might be someone important?

How can you tell?

Think about this work

This is the lid of an Egyptian Pharoah's sarcophagus (stone coffin) made over 3000 years ago. It weighs about 7 tonnes.

How do you think the Ancient Egyptians carved this sculpture?

How do you think they moved it down the river 150 miles and then dragged it over 8 miles of desert to the Valley of the Kings?

Do something in response

Can you make a raft to float Ramesses' sarcophagus up the Nile? Use what you can find at home and experiment with different shapes and sizes of boat.

What floats and what sinks?

Play our interactive Pharoah's Quest game to find out the answers to these challenges and more about extraordinary ancient Egyptians.

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3d model

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The Fitzwilliam Museum,
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CB2 1RB
Tel: +44 (0)1223 332900
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Museums and galleries in Cambridge will be closed to the public as part of a period of national/local restrictions. Home Learning Look Think Do Ramesses Iii Description of this object or artwork According to Helen Strudwick Associate Curator (Ancient Egypt), this granite sarcophagus lid was found in the tomb of Ramesses III in the Valley of the Kings, which is fairly close to the tomb of Tutankhamun.

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4. At The Dressmakers

At the Dressmaker's

Description of this object or artwork

The figure being fitted for a white dress is the artist, who was aged around twenty-four and living in Paris at the time. She stands slightly awkwardly with her arm raised so the dressmaker can work and our eyes are drawn to the woman's careful hands. This was a familiar activity for the artist, who enjoyed buying clothes.

Our Head of Learning, Miranda Stearn, told us about her experience of teaching with this painting:

"When we show young people particularly, but older ones too, people assume it is a wedding dress fitting - partly I imagine because she is in white, but also because in the present day that is almost the only kind of dress people get fitted for. But in the 1930s this would have been a more normal experience for women of a certain background.

For me, this is a painting about work - specifically of being a woman. There is the dressmaker, who is clearly working. But being fitted for the dress, and that slightly awkward body language, is also work: the work of maintaining a polished, elegant appearance. Try contrasting this to earlier society portraits of women by men, which feel all about the effortless grace and elegance: this painting shows us the reality of the effort that goes into creating the perfect image captured by those earlier portraits - women's lived experience."

Collections database information

Acquisition and important dates

Method of acquisition: Given

Dates: 1993

Dating

Maker(s)

Measurements and weight

At the moment, our system does not display units or type of measurements below. We will rectify this as soon as possible.

Materials used in production

Techniques used in production

Inscription or legend

Text: 1930

Location: Lower left

Type: Date

Text: motesiczky

Location: Lower left

Type: Signature

Associated department: Paintings, Drawings and Prints

Identification numbers

Accession number: PD.55-1993

Priref: 3028

Stable URI

Audit data

Created: 06-08-2011

Updated: 07-08-2020

Last processed: 22-12-2020

Data source: adlib

Associated institutions

Look at the work

This painting shows two women in a dressmakers' workshop.

Which one would you say is the main character?

How has the artist shown us that?

Think about this work

The women don't seem to be talking to each other.

What might they be thinking about?

What do you think the occasion is?

Think about their poses.

Do you think they would feel natural and comfortable or not?

Do something in response

Dressmakers would be very skilled at measuring, cutting fabric and sewing.

Why not try some sewing yourself?

You could practise by sewing a button onto an old sock, or you could make something using old fabric - like the scarf we made for our teddy here.

Check with an adult before you start!

Collections record

Contact us

The Fitzwilliam Museum,
Trumpington Street,
Cambridge
CB2 1RB
Tel: +44 (0)1223 332900
What3Words: lofts.puzzle.given

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Museums and galleries in Cambridge will be closed to the public as part of a period of national/local restrictions. Home Learning Look Think Do At The Dressmakers Description of this object or artwork The figure being fitted for a white dress is the artist, who was aged around twenty-four and living in Paris at the time.

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Tate Britain is currently closed

For more information please go to our FAQs and if you have any further queries please contact hello@tate.org.uk. We look forward to welcoming you back when we reopen.

The first major survey of one of the most important painters working today

Lynette Yiadom-Boakye is a British artist and writer acclaimed for her enigmatic portraits of fictitious people. This exhibition brings together around 80 works from 2003 to the present day in the most extensive survey of the artist's career to date.

The figures in Yiadom-Boakye's paintings are not real people - she creates them from found images and her own imagination. Both familiar and mysterious, they invite viewers to project their own interpretations, and raise important questions of identity and representation.

Often painted in spontaneous and instinctive bursts, her figures seem to exist outside of a specific time or place. Her paintings are coupled with poetic titles, such as Tie the Temptress to the Trojan 2016 and To Improvise a Mountain 2018. Writing is central to Yiadom-Boakye's artistic practice, as she has explained: 'I write about the things I can't paint and paint the things I can't write about.'

Yiadom-Boakye was awarded the prestigious Carnegie Prize in 2018 and was the 2012 recipient of the Pinchuk Foundation Future Generation Prize. She was shortlisted for the Turner Prize in 2013.
Exhibition organised by Tate Britain in collaboration with Moderna Museet, Stockholm, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, and Mudam Luxembourg - Musée d'Art Moderne Grand-Duc Jean

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lynette yiadom-boakye: fly in league with the night

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Lynette Yiadom-Boakye: Fly In League With The Night - Exhibition at Tate Britain | Tate

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Tate Britain is currently closed For more information please go to our FAQs and if you have any further queries please contact hello@tate.org.uk. We look forward to welcoming you back when we reopen. The first major survey of one of the most important painters working today Lynette Yiadom-Boakye is a British artist and writer acclaimed for her enigmatic portraits of fictitious people.

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The following artists work predominantly in the medium of collage, some may prefer to name the work as mixed media and some artists may prefer not to be categorised at all. The artists have been grouped as they work with various materials, such as; paper, fabric, photographic collage and painting or a variety of materials. Simply hover over the image to find the name of the artist and click on the image to go either directly to the artist's website or to a gallery that may represents the artist.

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The following artists work predominantly in the medium of collage, some may prefer to name the work as mixed media and some artists may prefer not to be categorised at all. The artists have been grouped as they work with various materials, such as; paper, fabric, photographic collage and painting or a variety of materials.